From 2009 until 2015, our music issue featured a different Southern state every year (raise your hand if you’ve got them all: Arkansas, Alabama, Mississippi, Louisiana, Tennessee, Texas, and Georgia).
Last year, we departed from the series to examine “Visions of the Blues.”
In 2017, we are returning to the state series. And we are thrilled to share that it’s your turn, Kentucky.
The Commonwealth gave us musicians like Loretta Lynn and Nappy Roots, Richard Hell and Bill Monroe—just to name a very few—and beloved writers like Crystal Wilkinson, Ronni Lundy, Silas House, and our own poetry editor, Rebecca Gayle Howell. This is just a taste of Kentucky and a taste of what’s to come.
Marketing strategies (which, after all, is all that categories are) may rise and fall, but to the democratic listener they are beside the point. The music calls attention to itself, and then takes you somewhere else. It isn’t really any different than going to Memphis was for me in the first place. One thing inevitably leads to another, and before you know it, you are caught up in the ecstatic dance, the ecstatic trance of the music.
A story from our 2001 Southern Music issue.
I first heard Charley Patton thirty years ago, on a two-LP compilation called The Story of the Blues, which I won in a contest. My adolescent ear was immediately sucked in by the mystery, the wit, the slyness, and the expressive variety of the performances of Blind Boy Fuller, Memphis Minnie, Texas Alexander, Leroy Carr, Barbecue Bob, Bessie Smith, Big Joe Turner, Blind Lemon Jefferson, Otis Spann, Blind Willie McTell, and the rest.
Listen to Rev. Sekou’s powerful album Times Like These, paired with an essay by the activist artist.
Mama taught me to read when I was four years old. It was my job to read the mail for Miss Roberta, who could not read but carried a wisdom that I am yet to adequately conceive of. She dipped snuff, walked with a cane, and was indeed royalty, and she loved me. Zent, Arkansas, was a kingdom of dignity. Folks like Miss Roberta tore off the best pieces of themselves and sowed it into a quilt that shields me to this day. If it was not for that covering, I would have long been consumed by rage.
“I didn’t do any research,” Luther Dickinson said with a grin as he opened the door to his room at the Washington Square Park Hotel. Dickinson was in New York for a show that evening at Rockwood Music Hall, and he had agreed to talk with me about a question I’d become obsessed with: Did blues slide guitar evolve from the Hawaiian steel guitar or from the African instrument usually claimed as its ancestor?
A poem from our 18th Southern Music Issue: Visions of the Blues.
A feature from our 18th Southern Music Issue: Visions of the Blues.
The place I was raised in and where occurred the events that most shaped and damaged me as a human being was called Silver Hills. It’s a “knob,” as they deem the low hills in that part of the country. This one had used to be Cane or Caney Knob, so named because when the whites arrived it was covered in tall river cane. The cane is gone but the knob remains, and the people rechristened it Silver Hills, claiming as always that this had been the Indian name.
Floyd Council’s heart gave out on May 9, 1976: bad cholesterol and, in the end, kidney failure. He was sixty-four. He’s buried outside my hometown of Sanford, North Carolina. If you take Lower Moncure Road east beyond the 421 overpass, you’ll see a few identical grey trailers, a low brick ranch-style house, and a tobacco field, and then the road curves left and the trees close in again. A church used to stand here, and in the long grass between the shoulder and the pines some gravestones are peeking up through the green. Not much remains of the cemetery, and nothing of the chapel, White Oak AME Zion, abandoned for years and finally torn down in 2014. Broke and a widower, Council was buried here without a marker. And now that the grass has grown long and trees have sprouted up, the blues guitarist’s grave is lost.